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Rogue One: A Star Wars Story (Gareth Edwards 2016)


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CGI has gotten to the place Lucas always said it would. When it comes to dogfights in space people really can’t tell what’s practical and what’s cgi anymore.    Tarkin and Leia, I thought, w

Well, this film is actually quite good a second time around. I will say that it starts off very slowly in terms of emotional attachment and/or suspense. You don't really become truly engaged until Ead

I'm sad our Spanish Darth Vader dubber dies of cancer a few years ago :(. The voice they use in rebels is assisine.

21 hours ago, Sharky said:

 

The vistas in the Lake Como bits are.

 

I'm not sure... I think that is alpine forest. Lake como is rather in the middle of the alps.

Listening to ROTJ today... whoever is scoring this film has to make awesome renditions of the imperial march throughout....If not it will be a failure...

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3 hours ago, leeallen01 said:

So assuming he starts writing in May; he'll have about 6 to 7 months to write and record it. That's about 4 years in Desplat's composing terms, 

:lol:

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11 minutes ago, KK. said:

I had to google the whole Mon Mothma thing to get why it was a big deal.

 

Me too!

 

Although I do pride myself in seeing her face in the trailer, and thinking to myself that I had seen her before somewhere.

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Hopefully neither, and instead in the largely unexplored in Hollywood middle-ground of modern symphonic music.  So many film score fans, and directors and composers too apparently, seem to think that symphonic music stopped being written after, say, Britten died, and that anything more modern in sensibility has to be hybrid or purely electronic.  Let's add Desplat to the list of folks who demonstrate how the language of "modern classical" music can serve cinema, along with Davis, Shore, and Goldenthal. 

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If DH is any indicator, we should expect a score that references Williams' work in certain key moments, while otherwise maintaining something of a low-key blend between classic orchestral scoring and more modern Zimmer-influenced approaches.

 

What I'm more curious about is stuff like credits and main titles and wipes and dissolves...all the traditions that the "episodes" have upheld. Will these be retained? Used more modestly? Omitted altogether in favor of a totally new stylistic approach? Hard to say.

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Desplat wil do what he feels right, of course.

 

Bugger that! Of course he won't.

 

"Star Wars" belongs to The Mouse, now, and any genuine creativity will go out the bloody window faster than you can say "bantha poo-doo". I'm surprised that a Premiership composer has been selected for "R1". I would have thought that someone of Brian Tyler's "talents" (snorts) would be more appropriate. Speaking of which...did anyone hear the Brian Tyler interview on BBC Radio 3, at the weekend. It was 60 minutes of proof (if any were needed) why Mr. Tyler is an "also ran". Pathetic.

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10 hours ago, Richard said:

The Mouse is accountable for everything that goes on in Marvel, and Star Wars, and in twenty-whatever, the Indiana Jones universes. If The Mouse does not like something it will change it, and Ms. Kennedy won't be able to do a damn thing about it. Your faith in Ms. Kennedy is your weakness.

 

your overconfidence in Disney's is yours.

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